[Harp-L] Problems with A harps

["John F. Potts" <hvyj@xxxxxxx>]

Dave,
	Right on. The different things a player can do or choses to  do with  
good breath control is a major component in defining a particular  
player's style and tone--how the player interacts with the  
instrument. This is one of the things that makes playing  the  
harmonica such a personal expression.  I tend to play fewer chords  
and more split tongue intervals.  But certainly good breath technique  
gives chords so much more texture,  depth, and dynamics (as you  
describe)--and  also helps make split tongue double stops sound deep,  
fat and full. ( Some of this also has to do with the differential  
tones that are produced.)  But, as you say, a player can get really  
interesting chord sounds with good breath control and attack  
especially on the lower key harps. For example, I like to do this  
when playing "High Heeled Sneakers" on a G harp.   Generally  
speaking, though, I'd rather not play the G or A harps if given a  
choice, and I don't even carry a low F myself.
	Whatever one's preferences might be, other considerations include  
how deep your embouchure puts the harmonica into the mouth and how  
relaxed you can keep you lower jaw (which should be dropped) to  
enlarge the tone chamber in your mouth.  Also, how deep from the  
diaphragm , throat, or mouth you are able to pull or draw the air.   
The lips should ordinarily not have much to do with generating breath  
pressure. And it's easier to play really fast by articulating the  
notes with diaphragm movement.  Once a player is able to do that,   
all of the bending technique can occur farther back or deeper in the  
mouth/throat.  This is why full time tongue blockers are able to  
bend--all of the muscle activity involved occurs deep in the mouth/ 
throat well behind the tip of the tongue.   I'm a mixed embouchure  
player myself and although I am able to, I don't usually tongue block  
when bending.  But, it is significant that tongue blocking allows the  
holes of the harmonica to be inside of the player's mouth past the  
teeth which provides a different (larger) tone chamber. This can also  
be accomplished when playing tongue split intervals.  HOWEVER, a  
player can employ breath control even when generating breath pressure  
from the mouth instead of the diaphragm if the proper attack is used.
	Controlling the attack is easier to learn than generating breath  
pressure from the diaphragm, good embouchure, keeping a relaxed oral  
tone cavity, tongue blocking, etc.  Once a player is able to play a  
clean single note and bend it, working on attack will improve his or  
her playing significantly, even if good embouchure, and diaphragmatic  
breathing and other techniques are not immediately developed. Working  
on attack is relatively easy and pays off quickly even if the player  
is blowing too hard, with poor embouchure, shallow breath production,  
constricted oral chamber, and otherwise sloppy technique.  You don't  
even have to be a good harmonica player to do it and it will make  
playing easier and a whole lot more fun.
	Hope this has made sense.
	JP